2021–22 Season Chronological Listing
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Jazz at Lincoln Center Orchestra with Wynton Marsalis
Thursday, September 29, 2016, 8pm Paramount Theatre, Oakland Jazz at Lincoln Center Orchestra with Wynton Marsalis Wynton Marsalis, music director, trumpet Ryan Kisor, trumpet Kenny Rampton, trumpet Marcus Printup, trumpet Vincent Gardner, trombone Chris Crenshaw, trombone Elliot Mason, trombone Sherman Irby, alto and soprano saxophones, flute, clarinet Ted Nash, alto and soprano saxophones, flute, clarinet Victor Goines, tenor and soprano saxophones, clarinet, bass clarinet Walter Blanding, tenor and soprano saxophones, clarinet Paul Nedzela, baritone and soprano saxophones, bass clarinet Dan Nimmer, piano Carlos Henriquez, bass Ali Jackson, drums Tonight’s program will be announced from the stage and performed without an intermission. Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis. For more information, please visit jazz.org. Facebook: facebook.com/jazzatlincolncenter Twitter: twitter.com/jazzdotorg YouTube: youtube.com/jazzatlincolncenter Cal Performances' presentations in Oakland are generously underwritten by Signature Development Group. Jazz residency and education activities are generously underwritten by the Thatcher Meyerson Family. ABOUT THE ARTISTS he mission of Jazz at Lincoln Center is country, woven with the colorful stories of the to entertain, enrich, and expand a global artists behind them. Jazz Night in America and Tcommunity for jazz through perform- Jazz at Lincoln Center’s radio archive can be ance, education, and advocacy. With the found at jazz.org/radio. world-renowned Jazz at Lincoln Center Orch - Under music director Wynton Marsalis, the estra and guest artists spanning genres and JLCO spends over a third of the year on tour. generations, Jazz at Lincoln Center produces The big band performs a vast repertoire, from thousands of performance, education, and rare historic compositions to Jazz at Lincoln broadcast events each season in its home in Center-commissioned works, including com- New York City (Frederick P. -
CONCERT QUICK GUIDE™ SAT 11/18/17 at 8 PM, the Richard B
CONCERT QUICK GUIDE™ SAT 11/18/17 at 8 PM, The Richard B. Fisher Center for the Performing Arts at Bard College, Sosnoff Theater SUN 11/19/17 at 4 PM, Peter Norton Symphony Space, Peter Jay Sharp Theatre a co-presentation with Performances #72 & #73: Season 3, Concerts 9 & 10 Gerard Schwarz, conductor The concert will last approximately 2 hours and 10 minutes Brief remarks by Matt Walley, trombone Eugene Goossens Born: 5/26/1893 in London Died: 6/13/1962 at age 69 in Middlesex, England Jubilee Variations NY Premiere “I hear a distinctly American sound in this piece. It has ten move- ments by ten different American composers, and ranges from rhythmic to lush melodies.” –Lara Baker-Finch, TŌN musician 21 min Movements Theme: Goossens Variation 6: Walter Piston Variation 1: Paul Creston Variation 7: Roy Harris Variation 2: Aaron Copland Variation 8: Anis Fuleihan Variation 3: Deems Taylor Variation 9: Bernard Rogers Variation 4: Howard Hanson Variation 10: Ernest Bloch Variation 5: William Schuman Finale: Goossens Written Premiered 1944 3/23/1945 at Music Hall in Cincinnati Cincinnati Symphony Orchestra Goossens, conductor Intermission Meet & greet Share a selfie Refreshments 20 min some of the musicians @TheOrchNow SAT: in the lobby SAT: in the lobby #TheOrchNow SUN: at Bar Thalia SUN: at the back of on the lower level the theatre WiFi SAT: BardWireless at the Fisher Center SUN: Sharp Guest at Symphony Space Restrooms at the Fisher Center are located on either side of the lobby. Restrooms at Symphony Space are located at the back of the theatre. -
Fact Sheet 2009
Wynton Marsalis FACT SHEET 2009 Wynton Marsalis, is the Artistic Director of Jazz at Lincoln Center since its inception in 1987, in addition to performing as Music Director of the Jazz at Lincoln Center Orchestra since it began in 1988, has: Early Life . Born on October 18, 1961, in New Orleans, Louisiana, the second of six sons to Ellis and Dolores Marsalis . At age 8, performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker . At age 12, began studying the trumpet seriously and gained experience as a young musician in local marching, jazz and funk bands and classical youth orchestras . At age 14, was invited to perform the Haydn Trumpet Concerto with the New Orleans Philharmonic . At age 17 became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center and was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student . 1979 Entered The Juilliard School in New York City to study classical trumpet . 1979 Sat in with Art Blakey and the Jazz Messengers to pursue his true love, jazz music. 1980 Joined the band led by acclaimed master drummer Art Blakey . In the years to follow, performed with Sarah Vaughan, Dizzy Gillespie, Gerry Mulligan, John Lewis, Sweets Edison, Clark Terry, Sonny Rollins and countless other jazz legends Acclaimed Musician, Composer, Bandleader . 1982 Recording debut as a leader . 1983 Became the first and only artist to win both classical and jazz GRAMMY® Awards in one year . 1984 Won classical and jazz GRAMMY® Awards for a second year . -
Kurt Masur My Relationship to Beethoven
Kurt Masur My Relationship to Beethoven Schriftenreihe Bulletin of the German Historical Institute Washington, D.C., Band 39 (Fall 2006) Herausgegeben vom Deutschen Historischen Institut Washington, D.C. Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. FEATURES MY RELATIONSHIP TO BEETHOVEN Seventh Gerd Bucerius Lecture, Washington DC, May 31, 2006 Kurt Masur Music Director, Orchestre National de France Principal Conductor, London Philharmonic The Bucerius Lecture Series, endowed in memory of the publisher Gerd Bucerius, honors individuals who have made important contributions to the development of civil society. This year’s lecture honored the conductor Kurt Masur, Gewand- hauskapellmeister of the renowned Gewandhaus Orchestra in Leipzig from 1970 to 1996, who played an important role in the peaceful revolution of 1989 in East Germany. Kurt Masur spoke about his long engagement with the composer Ludwig van Beethoven, offering many spontaneous asides and anecdotes, and even occasionally breaking into song. He then answered audience questionsat length. Since no printed text can capture this remarkable performance, we only print selected excerpts here. A video recording of the lecture will be available on DVD. If you would like a free copy of this DVD, please send an email to [email protected] by January 31, 2007. -
Pizzazz on the Podium
Montage Art, books, diverse creations 14 Open Book 15 Bishop Redux 16 Kosher Delights 17 And the War Came 18 Off the Shelf 19 Chapter and Verse 20 Volleys in F# Major places this orchestra square- ly at the center of cultural and intellectual discourse.” The Philharmonic sounds better than it has in decades, too, because Gilbert has im- proved morale, changed the seating plan, and worked on details of tone and balance— even the much-reviled acoustics of Avery Fisher Hall at Lincoln Center sound Alan Gilbert less jagged now. The conducting conductor is also pre- CHRIS LEE the New York Pizzazz on the Podium Philharmonic pared to be surprised: at Avery Fisher to him, his job is both Alan Gilbert’s music that should be heard Hall in Lincoln to lead and take in Center what the musicians by richard dyer are offering. The unexpected hit of his first season ike his celebrated predecessor as diverse as György Ligeti and Wynton was Ligeti’s avant-garde opera, Le Grand Leonard Bernstein ’39, D.Mus. Marsalis, named a composer-in-residence Macabre, in a staging by visual artist Doug ’67, Alan Gilbert ’89 seems to en- (Magnus Lindberg), and started speaking Fitch ’81, a friend who had tutored art in joy whipping up a whirlwind and informally to the audience, as Bernstein Adams House when Gilbert was in col- then taking it for an exhilarating sometimes did. His programs are full of lege. To publicize the opera, Gilbert ap- L ride. Though only in his second year on interconnections and his seasons add peared in three homespun videos that the the job, the second Harvard-educated mu- up; Gilbert has said that every piece tells Philharmonic posted on YouTube; Death, sic director of the New York Philharmonic a story, and every program should, too. -
[email protected] CHRISTOPH ESCHENBACH to CO
FOR IMMEDIATE RELEASE March 7, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] CHRISTOPH ESCHENBACH TO CONDUCT THE NEW YORK PHILHARMONIC MOZART’s Piano Concerto No. 22 with TILL FELLNER in His Philharmonic Debut BRUCKNER’s Symphony No. 9 April 19, 21, and 24, 2018 Christoph Eschenbach will conduct the New York Philharmonic in a program of works by Austrian composers: Mozart’s Piano Concerto No. 22, with Austrian pianist Till Fellner as soloist in his Philharmonic debut, and Bruckner’s Symphony No. 9 (Ed. Nowak), Thursday, April 19, 2018, at 7:30 p.m.; Saturday, April 21 at 8:00 p.m.; and Tuesday, April 24 at 7:30 p.m. German conductor Christoph Eschenbach began his career as a pianist, making his New York Philharmonic debut as piano soloist in Mozart’s Piano Concerto No. 24 in 1974. Both Christoph Eschenbach and Till Fellner won the Clara Haskil International Piano Competition, in 1965 and 1993, respectively. Mr. Fellner subsequently recorded Mozart’s Piano Concerto No. 22 on the Claves label in collaboration with the Clara Haskil Competition. The New York Times wrote of Mr. Eschenbach’s conducting Bruckner’s Symphony No. 9 with the New York Philharmonic in 2008: “Mr. Eschenbach, a compelling Bruckner interpreter, brought a sense of structure and proportion to the music without diminishing the qualities of humility and awe that make it so gripping. … the orchestra responded with playing of striking power and commitment.” Artists Christoph Eschenbach is in demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, including those in Vienna, Berlin, Paris, London, New York, Boston, Chicago, Los Angeles, Milan, Rome, Munich, Dresden, Leipzig, Madrid, Tokyo, and Shanghai. -
Nasher Sculpture Center's Soundings Concert Honoring President John F. Kennedy with New Work by American Composer Steven Macke
Nasher Sculpture Center’s Soundings Concert Honoring President John F. Kennedy with New Work by American Composer Steven Mackey to be Performed at City Performance Hall; Guaranteed Seating with Soundings Season Ticket Package Brentano String Quartet Performance of One Red Rose, co-commissioned by the Nasher with Carnegie Hall and Yellow Barn, moved to accommodate bigger audience. DALLAS, Texas (September 12, 2013) – The Nasher Sculpture Center is pleased to announce that the JFK commemorative Soundings concert will be performed at City Performance Hall. Season tickets to Soundings are now on sale with guaranteed seating to the special concert honoring President Kennedy on the 50th anniversary of his death with an important new work by internationally renowned composer Steven Mackey. One Red Rose is written for the Brentano String Quartet in commemoration of this anniversary, and is commissioned by the Nasher (Dallas, TX) with Carnegie Hall (New York, NY) and Yellow Barn (Putney, VT). The concert will be held on Saturday, November 23, 2013 at 7:30 pm at City Performance Hall with celebrated musicians; the Brentano String Quartet, clarinetist Charles Neidich and pianist Seth Knopp. Mr. Mackey’s One Red Rose will be performed along with seminal works by Olivier Messiaen and John Cage. An encore performance of One Red Rose, will take place Sunday, November 24, 2013 at 2 pm at the Sixth Floor Museum at Dealey Plaza. Both concerts will include a discussion with the audience. Season tickets are now available at NasherSculptureCenter.org and individual tickets for the November 23 concert will be available for purchase on October 8, 2013. -
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious. -
Lionel Bringuier
Lionel Bringuier Conductor French conductor Lionel Bringuier is one of the most engaging conductors of his generation, heralded for his artistic maturity, emotional insight, and insightful programming. He appears frequently with the world’s preeminent orchestras, and regularly collaborates with top solo artists both in concert and on critically lauded recordings. During the 2017/2018 season, Mr. Bringuier will make two appearances with the Orchestre National de Lyon, in November 2017 and May 2018. The season also includes engagements with the Leipzig Gewandhaus Orchestra, Chicago Symphony Orchestra, Orchestre Philharmonique de Radio France, Montreal Symphony Orchestra, Finnish & Swedish Radio Symphony Orchestras, Gothenburg Symphony Orchestra, Orquesta Sinfonica de Castilla y León, Gulbenkian Symphony Orchestra, and Malaysian Philharmonic, among others. Bringuier makes his seasonal return to the Los Angeles Philharmonic in March 2018, with a programme featuring Dvorak, Symphony No.8. Mr. Bringuier’s other programmes this season feature a vast range of repertoire; additional highlights include Dutilleux’ Symphony No. 1, Lutosławski’s Les espaces de sommeil, and Brett Dean’s Amphitheatre, alongside works by Shostakovich, Ravel, Salonen, Gruber, Varèse, Berlioz, and more. Bringuier has appeared as a guest conductor with the New York Philharmonic, Cleveland Orchestra, Munich Philharmonic, Simón Bolívar Symphony Orchestra of Venezuela, Philharmonia Orchestra, and Israel Philharmonic Orchestra. Named Chief Conductor and Music Director of the Tonhalle Orchestra Zurich in 2012, he now enters his seventh season working with the ensemble. Mr. Bringuier and the TOZ will embark on a multi- city tour throughout Europe in April 2018, with pianist Igor Levit as soloist. Following the landmark inauguration of the Creative Chair Initiative for the Tonhalle Orchestra Zurich in his first season, Lionel Bringuier will collaborate with the composer Brett Dean this year. -
Program Notes: Inspiration & Impact
CABRILLO FESTIVAL Program Notes: Inspiration & Impact Lola Montez Does the and she glides from the stage of sensory and expressive overload. Spider Dance (2016) overwhelmed with applause, At its premiere in March of 2012, the first third and smashed spiders, John Adams of the piece was largely a trope on the Opus (b. 1947) and radiant with parti-colored skirts, [World Premiere] 131 C# minor quartet’s scherzo and suffered smiles, graces, cobwebs and glory. from just this problem. After a moody opening of tremolo strings and fragments of the Ninth Commissioned by the musicians of the Cabrillo Lola Montez Does the Spider Dance was Symphony signal octave-dropping motive, Festival Orchestra in honor of Marin Alsop commissioned by members of the Cabrillo Festival Orchestra in celebration of Marin the solo quartet emerged as if out of a haze, The Irish-born actress and dancer Eliza Gilbert Alsop’s twenty five seasons as music director, playing the driving foursquare figures of that (1821—1861) achieved international fame and it is dedicated to her. scherzo material that almost immediately went under the name “Lola Montez, the Spanish through a series of strange permutations. Dancer.” After a controversial career on the —John Adams continent, including a sojourn in Bavaria This original opening never satisfied me. The where she become both the lover as well as clarity of the solo quartet’s role was often political advisor to King Ludwig, she returned Absolute Jest (2011) buried beneath the orchestral activity resulting in what sounded to me too much like “chatter.” to London, where she eloped with and married John Adams (b. -
2020-21 Season Brochure
2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No. -
Download Vita
Ruben Gazarian With the start of the 2002/2003 concert season, Ruben Gazarian took up the position of artistic director of the Württemberg Chamber Orchestra Heilbronn. Through a unanimous vote by the orchestra as well as by the selection commission, he was chosen for this position. He broadened the orchestra’s standard repertoire through the expansion of the instrumentation, thus transforming it into a symphonic orchestra, and through the selection of many works from the Romantic Period, the Early Modern and Avant-garde. Since the beginning of 2015, Ruben Gazarian assumes the additional position of Artistic Director of the Georgisches Kammerorchester Ingolstadt. In the same manner, this appointment arose from the unanimous wish of the orchestra, its management and the cultural representatives of the city. As guest conductor, Ruben Gazarian has conducted on the podiums of the Stuttgart, Frankfurt and WDR Radio Symphony Orchestras, the Hamburg Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Frankfurt Opera Orchestra, Hessian State Orchestra, Nordwestdeutsche Philharmonie, Orchestre National de Lyon, Jerusalem Symphony Orchestra, Israel Symphony Orchestra Rishon LeZion (Tel Aviv Opera), Tonkünstler Orchestra, Belgrade Philharmonic Orchestra, Philharmonic Orchestra of state theatre Cottbus, Zurich Chamber Orchestra, and many others. The soloists with Ruben Gazarian has collaborated include Gautier and Renaud Capucon, Julia Fischer, Hilary Hahn, Katia & Marielle Labèque, Elisabeth Leonskaja, Sabine Meyer, Sharon Kam, Viktoria Mullova, Sergei Nakariakov, Gerhard Oppitz, Frank Peter Zimmermann, Beaux Arts Trio, Gewandhaus-Quartett as well as many others. Originally from Armenia, Ruben Gazarian received his first violin lesson from his father at the age of four. That was followed by a formal education at the music school “P.